Technicolor’s highly experienced colourist Jean-Clément Soret put the eighties aesthetic on Sky’s new Chernobyl drama, while keeping it real
As part of our series profiling women in the FILM industry, we showcase the female colourists on our radar
For the first time, a major natural history series has been streamed; but what were the requirements to make it look better than traditional broadcast?
When we find ourselves at a noisy Soho eatery with Goldcrest Post senior colourist, Adam Glasman, it’s hard not to feel incredibly lucky to have carved out 30 minutes of his time outside the suite.
It’s a testament to the creatives involved in You Were Never Really Here that a warped time frame produced such a great looking film.
In a highly technical digital movie some old Hollywood techniques carried the narrative.
Live At Pompeii saw Pink Floyd’s David Gilmour return for two dynamic concerts, all shot in glorious 4K
Director David Fincher drove an era-defining aesthetic using the highest-end equipment. Definition spoke to cinematographer Erik Messerschmidt to find out how it influenced the huge Netflix hit, Mindhunter
Reproducing historic events isn’t easy. Do you go the sepia route or do you widen your recreation palette?
Paddington 2 takes the colour from the first film and bends the management rules. Technicolor senior colourist Peter Doyle explains how it was done
In England in 1605, a group of Catholics plotted to bring down the government. The BBC decided to bring the full force of realism to this famous story
Colourist Olivier Fontenay talks to Definition about how he approached colour sensitively to create a natural look that supported the narrative of the movie